Continuing through June 23, 2012
Pard Morrison’s wall reliefs stand out about three inches from the wall. Depending on how the light hits them, the painted sides reflect off the wall adding to the illusion of another sculptural surface where, in fact, there is only negative space. The eye completes the sculptures. This is true for “Migrant,” “Biophony,” and “King Pleasure,” as in all of the works on view in his exhibit “Phantom Limbs.”
For the illusion to be successful, it’s best to stand at a distance, regarding them straight on. The surfaces themselves are flat, the sense of depth arising from the angles delineated by differently colored, geometric panes which makes some surface areas appear closer while others recede. The resulting works challenge perceptions, demanding you see what isn’t really there. In doing so, perception continually shifts between what your eyes are telling you and what you know to be true.
